 | This article has multiple issues. Please help improve it or discuss these issues on the talk page . (Learn how and when to remove these template messages)
|
 | |
| Established | 1984 |
|---|---|
| Location | Mount Pleasant, Vancouver, British Columbia, Canada |
| Type | art gallery |
| Director | Vanessa Kwan |
| Curator | Whess Harman |
| Website | www |
The grunt gallery is a Canadian artist-run centre, founded in 1984 and located in Vancouver, British Columbia. They show work by both Indigenous and non-Indigenous artists. [1]
Established in 1984, and founded by Glenn Alteen, Kempton Dexter, Danielle Peacock, Susan MacKinley, Garry Ross, Dawn Richards, Billy Gene, Hillary Wood, and Daniel Olson. [2] The grunt gallery was part of the second generation of Vancouver’s artist-run centres, such as Main Exit (1980–84), Unit/Pitt (1980-), Reflections (1982–83), Or Gallery (1983-), (N)on Commercial (1984–1985), the Convertible Showroom (1984–86), Artspeak (1986-), Clochard (1987-) and Gallery T.O.O (1988–89). [3]
The first meetings for the Vancouver Fringe Festival happened at grunt gallery in 1985 and grunt was a venue for the festival until 1989.[ citation needed ] From 1987 until 1994 singer Kate Hammett Vaughan and guitarist Ron Samworth produce a weekly jazz improv series called Jazz in the Gallery. After 1990 grunt developed a number of Performance Series that ran at the same time as the Vancouver Fringe Festival including the 1990 Vancouver Performance Art Series, 1991 The Chicago Series, Performance Poets Series Masque of the Red Death and 1992 First Nations Performance Series. In 1993 Queer City Festival and Two Spirit Performance Series were produced. In 1994, grunt and artist Pat Beaton produced the Mount Pleasant Community Fence, one of Vancouver’s first engaged public art projects. In 1995, grunt produced the series Halfbred, that focused on issues of miscegenation, bisexuality and transgender communities with the Pitt Gallery. This is also the year when grunt obtained its own space. In 1996, production of the Mattering Map by Pia Masse, another engaged community public art focused on the working class diners of East Vancouver. In 1999, grunt produced Live at the End of the Century, a six-week performance festival celebrating the 20th Anniversary of the Living Art Festival in 1979. Thanks to this event’s success, grunt created "Live Biennial of Performance Art" in 2001, which still exists today. In 2008, grunt produced the Medicine Project, a website by Dana Claxton and Tania Willard. [4] [ non-primary source needed ] In 2009, the Vancouver Art in the 60’s web site was produced by Lorna Brown with the Morris and Helen Belkin Art Gallery at UBC. [5] In 2010, grunt launched Media Lab Campaign and Activating The Archive Project begins. In 2011, the Media lab opened and ATA series of web site projects were developed. grunt gallery has exhibited artists such as Rebecca Belmore, Syrus Marcus Ware, Derya Akay, Aileen Bahmanipour, and Paul Wong.
With over 20 years work with the First Nations artists’ communities, grunt’s archive contains documentary reproduction of many works: performances on video, black and white photography and exhibitions on slides, more recently accompanied by digital photography. The gallery specialized throughout the 1990s in First Nation’s artists of all levels of experience and media could exhibit their works. Among the important of the events developed by grunt gallery is, the 1997 computer generated performance "An Indian Act Shooting the Indian Act" by Lawrence Paul Yuxweluptun. [6]
In 2002, grunt gallery produced the conference, Indian Acts - Aboriginal Performance Art with TRIBE. [7] In 2005, as a part of LIVE Biennial, grunt created the community project Nova Library and also its first archival Website First Nations Performance. [8] In 2006, grunt gallery launched the First Visions Project with three websites, [9] this is also the year when Grunt Gallery Legacy Endowment was set up through the Vancouver Foundation. In 2007, Live In Public- The Art of Engagement Conference [10] [ non-primary source needed ] and Aboriginal Creators Project with websites by Lawrence Paul Yuxweluptun, [11] [ non-primary source needed ] Rebecca Belmore [12] and Dana Claxton [13] were created.
Working with a diverse group of artists and musicians, grunt gallery director Glenn Alteen initiated a project for an online gallery in 2008 and invited Tania Willard and Skeena Reece, Aboriginal artists and curators, both with ties to Aboriginal youth communities, to curate an online exhibition. [14] Beat Nation took off, and continues to grow, from an art exhibition and performance at SAW Gallery as part of British Columbia art scene in Ottawa, Ontario to performance art events with Beat Nation artists in Saskatoon and co-curator Skeena Reece’s performance as part of the 2010 Sydney Biennale in Australia.
Rebecca Belmore D.F.A. is a Canadian interdisciplinary Anishinaabekwe artist who is notable for politically conscious and socially aware performance and installation work. She is Ojibwe and a member of Obishikokaang. Belmore currently lives in Toronto, Ontario.
Marcia Crosby is a Canadian writer, art historian, and educator with Tsimshian-Haida ethnicity.
Fiona Bowie is a Vancouver-based Canadian installation artist. She uses film, video, photography and sculpture, and makes "immersive environments".
The Morris and Helen Belkin Art Gallery is a contemporary art gallery in Vancouver, British Columbia, on the campus of the University of British Columbia. The gallery is housed in an award-winning building designed by architect Peter Cardew and opened in 1995. It houses UBC's growing collection of contemporary art as well as an archives containing objects and records related to the history of art in Vancouver.
Dana Claxton is a Hunkpapa Lakota filmmaker, photographer, and performance artist. Her work looks at stereotypes, historical context, and gender studies of Indigenous peoples of the Americas, specifically those of the First Nations. In 2007, she was awarded an Eiteljorg Fellowship for Native American Fine Art.
Laiwan is a Zimbabwean interdisciplinary artist, art critic, gallerist, writer, curator and educator. Her wide-ranging practice is based in poetics and philosophy. She lives in Vancouver, British Columbia.
Lisa Jackson is a Canadian Screen Award and Genie Award-winning Canadian and Anishinaabe filmmaker. Her films have been broadcast on APTN and Knowledge Network, as well as CBC's ZeD, Canadian Reflections and Newsworld and have screened at festivals including HotDocs, Edinburgh International Film Festival, Melbourne, Worldwide Short Film Festival and Berlin International Film Festival.
Tania Willard is an Indigenous Canadian multidisciplinary artist, graphic designer, and curator, known for mixing traditional Indigenous arts practices with contemporary ideas. Willard is from the Secwepemc nation, of the British Columbia interior, Canada.
Lawrence Paul Yuxweluptun is a Cowichan/Syilx First Nations contemporary artist from Canada. His paintings employ elements of Northwest Coast formline design and Surrealism to explore issues as environmentalism, land ownership, and Canada's treatment of First Nations peoples.
The VIVA Awards are $15,000 prizes, granted annually to British Columbian mid-career artists chosen for "outstanding achievement and commitment" by the Jack and Doris Shadbolt Foundation. The awards are presented by the Shadbolt Foundation in conjunction with the Alvin Balkind Curator's Prize.
Tarah Hogue is a Canadian curator and writer known for her work with Indigenous art. Hogue is of Métis and settler ancestry and resides in Saskatoon, Saskatchewan. She is the inaugural Curator at Remai Modern.
Skeena Reece is a Canadian First Nations artist whose multi-disciplinary practice includes such genres as performance art, "sacred clowning," songwriting, and video art. Reece is of Cree, Tsimshian, Gitksan, and Métis descent.
Wanda Nanibush is an Anishinaabe curator, artist and educator based in Toronto, Ontario. From 2016 to 2023, she held the position of the inaugural curator of Indigenous Art at the Art Gallery of Ontario.
Âhasiw Maskêgon-Iskwêw (1958–2006) was a Cree and French Métis theorist, curator and artist. Maskêgon-Iskwêw was a significant figure in the field of contemporary Indigenous arts, and a formative proponent of digital media within Indigenous communities. In their 2015 book dedication to him, Steven Loft and Kerry Swanson describe Maskêgon-Iskwêw as "one of the foremost thinkers and practitioners of Aboriginal new media art."
Tʼuyʼtʼtanat-Cease Wyss is a Skwxwú7mesh (Squamish), Stó꞉lō, Kānaka Maoli (Hawaiian), Irish-Métis, and Swiss multi-media artist, ethnobotanist, independent curator, educator, activist, and small business owner based in Vancouver, British Columbia. Tʼuyʼtʼtanat is Wyss's ancestral name, which means “woman who travels by canoe to gather medicines for all people.” Wyss's interdisciplinary practice encompasses aspects of visual art, fiber arts, ethnobotany, storytelling, and community education, among other interdisciplinary approaches, and she has been working with new media, performance, and interdisciplinary arts for more than 30 years. As a Coast Salish weaver, Wyss works with wool and cedar and uses indigenous plants in the dyeing process. Wyss also engages with beekeeping and gardening practices as part of community-led initiatives and as a way to explore aspects of land remediation - the ability of plants to remediate soil that has been contaminated with colonial toxins.
Gabrielle L'Hirondelle Hill is a Cree and Métis multimedia artist and writer, living and working in Vancouver, British Columbia, Canada. Through creating sculptures, collage, and installation works with found objects, she explores and questions the capitalistic treatment of land as an economic capital, which leads the land contamination and violence against people living on the land. As a member of BUSH Gallery, Hill is also involved in group art projects, through which artists embody the indigenous way of knowing and art practice, as a means of decentralizing Eurocentric theorization of art. Hill was longlisted for the 2019 Sobey Art Award.
Cleo Reece is a Cree Métis Red Power movement activist, environmental activist, and filmmaker. She is currently a band councilor for Fort McMurray #468 First Nation.
Diamond Point is a contemporary Coast Salish artist and member of the Musqueam Indian Band.
Terrance James Houle is an Internationally recognized Canadian interdisciplinary artist and member of the Kainai Nation and ancestry from the Sandy Bay Reservation, Manitoba. His Mother is Maxine WeaselFat from the Kainai Nation and Father Donald Vernon Houle from Sandy Bay Reservation in Manitoba, they are both 3rd generation Residential School attendees & reside on the Blood reservation in Southern Alberta, Canada. His work ranges from subversive to humorous absurdity to solemn and poetic artistic expressions. His work often relates to the physical body as it investigates issues of history, colonization, Aboriginal identity and representation in popular culture, as well as conceptual ideas based on memory, home, and reserve communities. Currently, He has co-directed a Short Animation Otanimm/Onnimm with his daughter Neko which is currently touring Film festivals, In Los Angeles, NYC, Toronto, New Zealand, Vancouver, Oxford & many more. Recently their short film won the prestigious Golden Sheaf Indigenous Award at Yorkton Film Festival and is Neko's First Award in Film at 17 years old.
Scott Watson is a Canadian curator, writer, and researcher based in Vancouver, British Columbia. Watson was the Director/Curator of the Morris and Helen Belkin Art Gallery at the University of British Columbia from 1995 to 2021. As faculty in the Department of Art History, Visual Art and Theory at the University of British Columbia, he helped initiate the Critical Curatorial Studies program at UBC in September 2002. Through his research and publications, he has acted as a champion of contemporary Vancouver artists.
| International | |
|---|---|
| National | |
